The_Complete_Idiot%27s_Guide_To_Music_Theory
The_Complete_Idiot%27s_Guide_To_Music_Theory
The_Complete_Idiot%27s_Guide_To_Music_Theory
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108<br />
Part 3: Tunes<br />
Note<br />
See Chapter 19 for more<br />
information about instrumental<br />
and vocal ranges.<br />
You want your music to fit with your words. In the simplest sense, this means<br />
arranging the rhythm of the music so that it fits the natural rhythm of the words.<br />
You don’t want your singers to be forced into awkward phrasing to fit all the<br />
syllables into a given space. Most words and phrases have a natural pace, and<br />
will suggest a rhythm to you. Make sure your music’s rhythm fits this lyric<br />
rhythm—in particular, avoid putting an unaccented word or syllable on an<br />
accented part of the measure, like the downbeat.<br />
You also want the flow of your melody to match the flow of the words. For<br />
example, if the words ask a question, you probably want the melody to flow<br />
upward, to imitate the way a human voice ends a question on a higher pitch.<br />
In addition, you want the feel of the music to match the feel of the lyrics. If the<br />
lyrics are sad, you probably don’t want to set them to a happy-sounding melody.<br />
<strong>The</strong>re are exceptions to this rule, of course—mismatching words and lyrics can<br />
create a sense of musical irony that is appropriate in some situations—but in<br />
general, you want your melody to reflect the feel of the lyrics, even when<br />
played without vocals.<br />
Write for a Specific Instrument or Voice<br />
<strong>The</strong> type of melody you compose might be dictated by the specific voices or<br />
instruments you’re writing for. For example, if you’re writing for flutes, you<br />
probably don’t want to create a booming, bombastic melody—they won’t be<br />
able to play it. By the same token, too high a melody will be difficult for low<br />
male voices to sing. You need to find not only the right range for a given voice<br />
or instrument, but also the right feel. Match the requirements of your melody<br />
with the right voices and instruments to avoid an unpleasant listening experience.<br />
Be Unique<br />
Finally, you should know that a melody doesn’t have to be harmonically or<br />
rhythmically complex to be memorable; it doesn’t have to be long or short or any<br />
certain length. It does, however, have to be distinctive. A memorable melody<br />
might remind us of other melodies, but it can’t duplicate them. <strong>The</strong> best melodies<br />
have something unique about them, some distinctive hook or motif or rhythmic<br />
pattern that makes them stand out.<br />
It’s difficult (if not impossible) to teach you how to be unique, so this is something<br />
you’ll have to address on your own. Does your melody stand on its own?<br />
Does it sound a little like something else you’ve heard? Does it sound a lot like<br />
something else you’ve heard? As with many aspects of composition, this is one<br />
area in which you’ll have to trust your ears—and one that you definitely have to<br />
listen for.<br />
Learn More About Composing<br />
Writing your own music is fun, but it requires mastery of many musical skills—<br />
of which we’ve only covered a few in this chapter. Whether you want to write<br />
songs or symphonies, the same techniques of composition apply. You have to